Human Target (2010–2011)
2 user 1 critic


1:21 | Trailer
Chance's past comes into focus when he recruits FBI Agent Emma Barnes to help him stop his former partner from assassinating a visiting foreign dignitary. Meanwhile, Guerrero tests out a ... See full summary »


Paul A. Edwards (as Paul Edwards)


Jonathan E. Steinberg (developed for television by), Matthew Federman | 8 more credits »



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Episode cast overview, first billed only:
Mark Valley ... Christopher Chance
Chi McBride ... Winston
Jackie Earle Haley ... Guerrero
Emmanuelle Vaugier ... Emma Barnes
Autumn Reeser ... Layla
Samantha Ferris ... Deputy Director Lynch
Lennie James ... Baptiste
Eric Breker ... Folster
Trevor Carroll ... FBI Spotter
D. Harlan Cutshall ... Guard
Herbert Duncanson Herbert Duncanson ... Agent
Serge Houde ... Lecavalier
Kasey Kieler Kasey Kieler ... Thug
Donny Lucas ... Detective
Todd Charles Mosher Todd Charles Mosher ... HRT Team Leader


Chance's past comes into focus when he recruits FBI Agent Emma Barnes to help him stop his former partner from assassinating a visiting foreign dignitary. Meanwhile, Guerrero tests out a familiar face as a new recruit to the team. Written by Fox Publicity

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Plot Keywords:

handcuffs | false identity | See All (2) »


TV-14 | See all certifications »




Release Date:

17 March 2010 (USA) See more »

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Technical Specs


Sound Mix:




Aspect Ratio:

1.78 : 1
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Did You Know?


Guerrero: Getting in's the easy part, guys. Getting them out again, that's what separates the pros from the amateurs.
Layla: [referring to the Asian food box Guerrero is eating with chopsticks] That's not yours.
Winston: Yeah, good luck getting through to him.
Guerrero: This your first time freelancing?
Layla: Uh-huh. Why?
Winston: Oh, here we go.
Guerrero: Well, we don't get benefits, there is no job security, and nobody gives you a cake on your birthday. The upside: Freedom. Whatever's in the fridge is fair game.
Winston: Yes, chapter one of the freelancer's ...
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Morning in Manhattan
Written and Performed by Raya Yarbrough
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User Reviews

Train of Consequences
24 January 2011 | by ttapolaSee all my reviews

Episode #1.7 was the first to get "only" 7/10 from me, so an episode promising info on Chance's past sounded promising. The pre-credits sequence already is a winner. The convincing Lennie James (Jericho, The Prisoner, Hung) adds his name to the impressive guest star list as über-assassin Baptiste. Emmanuelle Vaugier is back! She's hot. And kicks ass! Also, Emma has handcuffs in her bedroom drawer?

After credits it gets even better. Autumn Reeser is back! She's cute. And not just a decoration - she's vital to the plot and provides even more continuity. Events occur in present and in flashbacks. And not without a reason. There's great banter between Winston and Guerrero. The plot does not stand still. It builds and builds masterfully until all hell breaks loose. There are no forced act-ending cliffhangers and revelations like in 24, the 8th season of which this episode shares some ingredients with.

Mark Valley finally gets his chance to shine. His scenes with Vaugier are as fun as they were the previous time, but his scenes with James are the true meat here. And the frenetic action makes 24 seem arthritic by comparison. The fun ones counterbalance the serious and intense ones perfectly, without coming off as an ill-fitting pairing. But Human Target already has a great track record with this juggling act. Contrast with 24 which was always dead serious - not that there's anything wrong with that, but in 8 years that attitude inevitably gets a bit stale. I can easily see Human Target run as long without becoming stale. Especially since the makers seem to have a long-term plan.

Another magnificent 9/10* achievement for the show. The only complaint comes from the ill-judged CGI fire, which should *never* be attempted on a TV budget. It always looks *awful*.

*) HOW THE RATING IS GIVEN: Since the average between the lowest rating (1) and highest rating (10) is 5.5, everything gets a starting rating of 6. After that, points are either added or subtracted depending on the actual content: Plot, script, acting, directing, music, production values and so on. Also, the content is weighted against previously rated works, which act as a guideline. Also, to get the lowest or highest possible rating, the work must approach the worst or best thing ever seen, respectively. And as the laws of probability state, both are *extremely* rare.

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